The White Tiger (film).

Aravind Aviga’s first novel, The White Tiger, won the Booker Prize in 2008 for its grim, satirical look at the pernicious effects of caste and economic discrimination in India, just as the country was working to change its global image to that of a more modern society. (As if modern societies were somehow free of this sort of discrimination.) It seemed perfectly suited to an adaptation for the screen but it took over ten years for filming to begin, and the movie finally saw the light of day this winter, appearing on Netflix in January. I loved the book, and the film, which is very faithful to the original text, is also great, with some reservations.

The White Tiger tells the story of Balram, a poor child in the state of Rajasthan, who realizes early on that there’s no escape from the underclass if you’re not out for yourself, and the promise of upward mobility is a fiction for people like him. He manipulates his way into a job as a chauffeur for Ashok, the son of the village’s wealthy landlord, known just as “The Stork.” He gets the job, and tries to ensure his job security, by being obsequious to his bosses no matter the insults or abuse they throw at him, until one night, Ashok’s wife, Pinky, has an accident while driving, and they make Balram take responsibility. After that, the gloves are off, and Balram’s loyalty to himself takes priority over his loyalty to his employers. Yet Balram is no saint, and rationalizes away some of his own worst behaviors even before the accident, arguing that this is India and it’s every man for himself.

Balram is played by Adarsh Gourav in his first film role, and he’s spectacular. Balram narrates the book and the movie, and the film just wouldn’t work without the right actor in that role. The character has show many faces in the story – among them simpering, wounded, and righteously angry – and make it credible that they’d all come from the same human. He’s at his best in the moments when Ashok and his family turn on him and he realizes they view him as somewhere between hired help and farm animal.  Priyanka Chopra helped the film become reality and served as executive producer; she also appears as Pinky, playing her as an Indian woman who grew up in the United States and has more worldly values, including viewing Balram as, at least, an actual person, in contrast to her husband or, worse, her father-in-law. Her character probably has the most depth after Balram’s, but I’ve never found Chopra that convincing as an actress (in English language works, though), and she’s pretty stiff in this role.

The framing device for the film feels somewhat extraneous. As the film opens, we see Balram, grown up, at the head of his own business, as he writes a letter to then-Chinese premier Wen Jiabao, bragging about his life story, praising the Chinese economy, and asking for a meeting. It’s mostly just padding, and it spoils a few plot points if you’re watching carefully. I also would have preferred not to see the successful Balram until he reached that point in the story.

Gourav really does drive the film. Balram is a great character, an antihero inhabiting a story that usually provides us with a simple, easy to cheer for protagonist, like some sort of modern Horatio Alger tale. Instead, Aviga’s story reveals layers of cunning and venality in Balram as a way of indicting the hollowness of India’s economic miracle, and exposing how income inequality might replace the caste system as an obstacle to upward mobility in class or just personal wealth. I suppose that actually makes it a lot like the United States, just not in the way they intended.